Mortimer-Lamb House

The Mortimer-Lamb House is a one and one half-storey, Arts and Crafts-style residence with a steeply pitched, side-gabled roof. The original cottage form has been enlarged with a later addition on the west side of the house. Located next to the Burnaby Lake Regional Park Wildlife Rescue Care Centre…

The Mortimer-Lamb House is a one and one half-storey, Arts and Crafts-style residence with a steeply pitched, side-gabled roof. The original cottage form has been enlarged with a later addition on the west side of the house. Located next to the Burnaby Lake Regional Park Wildlife Rescue Care Centre, the house has picturesque views of Burnaby Lake.

Heritage Value

Built circa 1922, the Mortimer-Lamb House is valued for its association with first owners, Harold Mortimer-Lamb (1872-1970), and his wife, Katherine Mary Mortimer-Lamb (1873-1939). Born in Leatherhead, Surrey, England, Harold Mortimer-Lamb immigrated to Canada in 1889. Seven years later in Vancouver, he married Katherine Mary Lindsay, a native of Winnipeg. Mortimer-Lamb was a key figure in the B.C. mining industry, serving as Secretary of the Mining Association of B.C. between 1900 and 1945, and also as the Secretary of the Canadian Institute of Mining and Metallurgy. In addition to his professional life, Mortimer-Lamb was a pioneer art photographer and was among Canada's leading art critics, and this house served as a central gathering place for renowned Canadian artists of the day. Mortimer-Lamb’s daughter, Molly Lamb Bobak (born 1922), became a renowned watercolourist, and was the only woman ever hired as an official Canadian war artist.
The Mortimer-Lamb House is a significant example of the work of noted architect, Samuel Maclure (1860-1929) and his partner, Ross Lort (1889-1969). Maclure, who was a close friend of the Mortimer-Lamb family, was British Columbia's leading residential architect, and was renowned for his high quality designs for prominent citizens in both Vancouver and Victoria. Maclure was a leading exponent of the Art and Crafts design movement in B.C., and established a sophisticated local variation of residential architecture. The Mortimer-Lamb House was designed at the time when Maclure was in partnership with Ross Lort. In 1907, Lort began working for Maclure's firm as a draftsman, and by 1920 was in charge of Maclure's Vancouver office. Lort's architectural career spanned some sixty-years, and he designed some of the province's most familiar houses, apartments, institutions and places of worship.
The Mortimer-Lamb House is also a significant local example of the Arts and Crafts style, and incorporates elements such as board-and-batten siding on the ground floor, shingled gables and leaded casement windows. It is a testament to the domestic architecture built outside of established suburbs during the post-First World War era, typically modest in scale and representative of middle-class residential ideals.

Defining Elements

Key elements that define the heritage character of the Mortimer-Lamb House include its:
- treed setting with views of Burnaby Lake
- residential form, scale and massing as expressed by its one and one-half storey height, rectangular plan and steeply pitched side-gabled roof
- wood-frame construction
- Arts and Crafts elements such as board-and-batten siding on the ground floor, cedar shingles in the gables and open soffits
- original straight-leaded casement windows in single and multiple-assembly
- internal red-brick chimney with corbelled cap

Woodward Cottage

Set far back from Sperling Avenue, Woodward Cottage is a one-storey, wood-frame house with a raised foundation and gabled roofline. It is located within a picturesque lakefront neighbourhood and is part of the Deer Lake Park Heritage Precinct.

Set far back from Sperling Avenue, Woodward Cottage is a one-storey, wood-frame house with a raised foundation and gabled roofline. It is located within a picturesque lakefront neighbourhood and is part of the Deer Lake Park Heritage Precinct.

Heritage Value

Woodward Cottage, built in 1904, is valued as the oldest house within the Deer Lake neighbourhood, whose construction marked the beginning of Deer Lake's transition from a rural farming community to a residential suburb. At the turn of the nineteenth century, Deer Lake was recognized for its tranquility and beautiful scenery, which, in turn, attracted New Westminster and Vancouver residents to relocate to the area and build family homes. The first owner, Maud Sarah Woodward (1865-1958), originally from England, was a pioneer nurse of Vancouver. In 1903, she purchased this property from her two close friends, Louis and Annie Hill, who were among Deer Lake's first residents. Maud and her sister, Harriet Julia Woodward (1879-1969), were prominent figures in the Deer Lake community and together they established the first post office in Burnaby, which operated out of this house. Due to the lack of any local facilities, in September 1904 Harriet Woodward established a private primary school here for the local children, which continued after 1908 as a kindergarten. The cottage was enlarged several times to accommodate the expanding post office until 1912, when the Woodwards began construction of a new, larger house.
Woodward Cottage is also valued for its origins as an innovative prefabricated structure. In 1904, the B.C. Mills Timber and Trading Company patented a modular system in response to unprecedented population growth in the western provinces. This system could be adapted to provide everything from modest one-room cottages to schools, churches and banks. Short mill ends of lumber and siding, which had previously been discarded, were assembled into three or four-foot wide wall panels that could be bolted together. The vertical joints between the panels were covered by narrow battens, which gave these buildings their distinct appearance. The wall panels for the house were assembled at the mill, prepainted and packaged with various other components and the necessary instructions to assemble the building, and shipped via railway to its waiting customer. Woodward Cottage is one of the earliest surviving examples of this ingenious prefabricated system. In the 1930s, the cottage was raised and turned to allow for a new foundation to be built. Despite later additions and alterations, the original cottage form is still recognizable. Woodward Cottage is currently owned by the City of Burnaby and is part of the Deer Lake Park Heritage Precinct, Burnaby's most significant collection of historic sites.

Moore House

The Moore House is a one-storey, side-gabled house with stepped roof planes and a split-level attached garage. The house faces east, and features distinct river rock porch columns and a large central tapered chimney. It is located within the Deer Lake Park Heritage Precinct, and is adjacent to a re…

The Moore House is a one-storey, side-gabled house with stepped roof planes and a split-level attached garage. The house faces east, and features distinct river rock porch columns and a large central tapered chimney. It is located within the Deer Lake Park Heritage Precinct, and is adjacent to a related house, the Rosalie (Moore) Barrett Residence, built the following year.

Heritage Value

The Moore House is significant for its relationship to first owner, Ethel Hutchings Moore (1884-1948), who purchased the property from Maud and Harriet Woodward, two of Deer Lake's first residents. Moore purchased the property with the hopes of introducing her children into the house construction business. This house, built in 1941, borrows its design from a 'California Desert House' built in Carmel a few years earlier. Rendered in traditional materials, this modern style merges comfortably with the rustic British Arts and Crafts tradition of most Deer Lake houses. Unusual for being built during wartime date, it was built at a time when domestic construction was severely curtailed due to shortages of labour and material. It is now owned by the City of Burnaby and is part of the Deer Lake Park Heritage Precinct.
The Moore House is significant as a testament to Deer Lake's continued popularity as a residential neighbourhood in the 1940s. Although Burnaby was serviced by a number of transportation links at the time, the increasing availability of automobiles provided improved access to outlying suburbs. Rising real estate prices in Vancouver and New Westminster attracted residents to this neighbourhood because of its relative affordability, central location and beautiful scenery.

Defining Elements

Key elements that define the heritage character of the Moore House include its:
- location within the Deer Lake Park Heritage Precinct
- residential form, scale and massing as expressed by its one-storey height, linear plan, side gabled roof with multiple roof planes and split-level attached garage
- wood-frame construction with stucco cladding
- river rock porch columns and external tapered chimney
- decorative embellishments including scroll-cut stickwork on the rear elevation and waney-edged boards in the gable peaks
- wooden-sash casement windows with three-part, horizontal leading
- associated landscaping features, including stone wall at the front of the property and coniferous and deciduous trees surrounding the property

Rosalie (Moore) Barrett Residence

The Rosalie (Moore) Barrett Residence is a one-storey ranch-style bungalow with a cross-gabled roofline, located on Sperling Avenue. It is located within the Deer Lake Park Heritage Precinct, and is adjacent to a related house, the Ethel Moore Residence, built the previous year.

The Rosalie (Moore) Barrett Residence is a one-storey ranch-style bungalow with a cross-gabled roofline, located on Sperling Avenue. It is located within the Deer Lake Park Heritage Precinct, and is adjacent to a related house, the Ethel Moore Residence, built the previous year.

Heritage Value

This house is significant for its connection with first owner, Rosalie Barrett, the daughter of Ethel Hutchings Moore, who lived in the adjacent house at 5145 Sperling Avenue. A spacious modernist bungalow, it was constructed in 1942, and was designed by Rosalie Moore herself. Moore intended to build several houses on this property, but further development was curtailed due to wartime restrictions on domestic construction.
The Rosalie (Moore) Barrett Residence is a testament to Deer Lake's continued popularity as a residential neighbourhood in the 1940s. Although Burnaby was serviced by a number of transportation links at the time, the increasing availability of automobiles provided improved access to outlying suburbs. Rising real estate prices in Vancouver and New Westminster attracted residents to this neighbourhood because of its relative affordability, central location and beautiful scenery.

Defining Elements

Key elements that define the heritage character of the Rosalie (Moore) Barrett Residence include its:
- location within the Deer Lake Park Heritage Precinct
- residential form, scale and massing as expressed by its one-storey height, rambling linear plan and cross-gabled roof
- wood-frame construction with stucco siding and waney-edged boards in the gable peaks
- red brick on the front façade and rough-cut granite at the base of the house
- Modernist design as exemplified by the asymmetrical, linear plan with low pitched roof
- internal granite chimney
- original windows, including wooden-sash casement windows in double and triple-assembly with four-part, horizontal leading
- original front door with glass block sidelights
- associated landscape features such as granite gateposts, foundation plantings and mature coniferous trees

Montague & Marcia Moore Residence

The Montague and Marcia Moore Residence, situated on Sperling Avenue, is a one and one-half storey wood-frame house with Tudor Revival elements such as half-timbering and diamond-leaded windows. The landscaping includes a large hedge at the front of the property. It is located on a lakefront site w…

The Montague and Marcia Moore Residence, situated on Sperling Avenue, is a one and one-half storey wood-frame house with Tudor Revival elements such as half-timbering and diamond-leaded windows. The landscaping includes a large hedge at the front of the property. It is located on a lakefront site within the scenic Deer Lake Park Heritage Precinct.

Heritage Value

Located within the historic Deer Lake Park neighbourhood, the Montague and Marcia Moore Residence is valued as an example of the late persistence of the historicist influence on domestic architecture, at a time when it was still considered the height of good taste for a house to be designed in a recognizable period revival style. This is reflected in the rustic Tudor Revival elements such as half-timbering, waney-edged boards in the gables, brick nogging, diamond-leaded windows, and bird houses in the main gable. The cobblestone chimney, the major focal point of the house, was constructed from river stones that were transported from Lynn Canyon.
Meticulously retained in its original condition, this was the last home to be constructed by the Moore family before the Second World War construction supply rationing took effect. It was built by Danish contractor, Hans Jorgensen Hau (1878-1944), who had a flair for the construction of homes with a rustic character, and shares a number of design features with Hau’s own house at 5070 Canada Way.

Defining Elements

Key elements that define the heritage character of the Montague and Marcia Moore Residence include its:
- location on a lakefront site, within the Deer Lake Park Heritage Precinct
- residential form, scale and massing as expressed by its one and one-half storey height, rectangular plan and front gabled roof
- wood-frame construction
- Tudor Revival elements such as stucco and wood half-timbering, diamond-leaded casement windows, scroll-cut brackets, brick nogging on the front façade, bird houses in the main front gable, waney-edged boards at gable peaks, plank front door with strap hinges and a prominent external cobblestone chimney
- associated landscape features such as a granite wall, and mature coniferous and deciduous trees

Woodward House

The Woodward House is a two-storey plus basement, wood-framed house with British Arts and Crafts influences. It is set in a wooded landscape on a lakefront property, on Sperling Avenue within the Deer Lake Park Heritage Precinct of Burnaby, with expansive views of the lake.

The Woodward House is a two-storey plus basement, wood-framed house with British Arts and Crafts influences. It is set in a wooded landscape on a lakefront property, on Sperling Avenue within the Deer Lake Park Heritage Precinct of Burnaby, with expansive views of the lake.

Heritage Value

Maud Sarah Woodward (1865-1958), a pioneer nurse originally from England, and her sister Harriet Julia Woodward (1879-1969), one of Burnaby’s first teachers, had this large house built in 1912 to replace the smaller cottage they owned nearby at 5141 Sperling Avenue. Farmer, builder and longtime Deer Lake resident, Bernard R. Hill (1858-1939), was hired as the contractor.
The Woodward House played an important role in the Deer Lake community. The Woodward sisters were tireless community organizers and volunteers. This house served a number of functions, and in addition to being the sisters’ home was the local post office until 1949 and also a private kindergarten/school until 1935. Originally designed in the British Arts and Crafts style with a simple rustic exterior of cedar shingles, it is an excellent example of the type of residence constructed by middle-class citizens in the Deer Lake neighbourhood. The B.C. Electric Railway's Burnaby Lake Interurban line, which opened June 12, 1911, fostered the development of Deer Lake as well as other Edwardian era neighbourhoods in Burnaby.

Defining Elements

Key elements that define the heritage character of the Woodward House include its:
- lakefront location, within the Deer Lake Park Heritage Precinct
- residential form, scale and massing as exhibited by its two-storey height, full basement, square floor plan and side-gabled roof
- internal red-brick chimneys
- British Arts and Crafts features such as cedar shingle siding, extant under later plywood
- associated landscape features such as mature coniferous trees

England House

The Mary English Residence is a one and one-half storey, wood-frame, Period Revival cottage with a steeply pitched, cross-gabled roof. Situated on Griffiths Drive within the Edmonds neighbourhood of Burnaby, the Mary English Residence has an original attached garage.

The Mary English Residence is a one and one-half storey, wood-frame, Period Revival cottage with a steeply pitched, cross-gabled roof. Situated on Griffiths Drive within the Edmonds neighbourhood of Burnaby, the Mary English Residence has an original attached garage.

Heritage Value

The Mary English Residence, built in 1930, is valued as a representation of the period revival styles that were popular in the era between the two World Wars. At this time, it was considered the height of fashion for a house to reflect historical styles, even when combined in an eclectic manner, that expressed a domestic ideal of cozy traditionalism. The Mary English Residence is an exuberant example of this trend. Half-timbering, multi-paned and leaded casement windows and a steeply pitched, cross-gabled roof impart a storybook cottage charm. Its first owner, Mary English, was employed for several years as stenographer at the old Burnaby Municipal Hall. An original attached garage is evidence of the growing presence of automobiles in domestic life of the 1930s.
Additionally, the Mary English Residence is a testament to the continued suburban growth of the Edmonds neighbourhood. During the Edwardian era, the area experienced a housing boom. Its proximity to New Westminster, coupled with its regional transportation links, made it an attractive area for middle-class residences. Despite the economic recession of the 1930s, the Edmonds area continued to develop with modest but handsome housing.

Alfred & Ruth MacLeod Cottage

Located atop a hill on the southern shore of picturesque Deer Lake, the Alfred and Ruth MacLeod Cottage is a one and one-half storey, wood-frame, rustic Arts and Crafts-style bungalow. The cottage is well-maintained, but has been altered through the enclosure of much of its original wraparound vera…

Located atop a hill on the southern shore of picturesque Deer Lake, the Alfred and Ruth MacLeod Cottage is a one and one-half storey, wood-frame, rustic Arts and Crafts-style bungalow. The cottage is well-maintained, but has been altered through the enclosure of much of its original wraparound verandah. Its sits on the brow of a steep slope, with panoramic views north to Deer Lake.

Heritage Value

The Alfred and Ruth MacLeod Cottage is valued as a significant example of the early development of summer estates in Burnaby, specifically in the Deer Lake neighbourhood, that attracted residents from the burgeoning cities of New Westminster and Vancouver. Access to the area was facilitated by the construction of the Burnaby Lake Interurban tramline, which opened in June 1911. This modest, rustic cottage illustrates the desire for a simple country lifestyle and retreat into nature of those who settled on the south shore of Deer Lake. While the grand mansions on the north shore of Deer Lake are set in formally landscaped gardens, the informality of this cottage demonstrates reverence for its natural, wooded surroundings, oriented towards views of Deer Lake.
The Alfred and Ruth MacLeod Cottage is important for its connection with prominent New Westminster insurance and real estate broker, Alfred W. MacLeod, and his wife, Ruth. The MacLeods had recently constructed a large city home, and built this cottage as a summer residence in 1913. In 2005, the Alfred and Ruth MacLeod Cottage was purchased by the City of Burnaby and today constitutes part of the Deer Lake Park Heritage Precinct, which is Burnaby's most significant collection of historic sites.

Defining Elements

Key elements that define the heritage character of the Alfred and Ruth MacLeod Cottage include its:
- secluded setting on the brow of a steep hill on the southern shore of Deer Lake, with expansive views of Deer Lake to the north
- residential form, scale and massing as expressed by its one and one-half storey rectangular plan, side-gabled roof, hipped roof over original verandah and two shed dormers
- associated landscape features such as mature coniferous and deciduous trees surrounding the property

Louis & Annie Hill Residence

The Louis and Annie Hill Residence is a modest one-storey, wood-frame, side-gabled Arts and Crafts bungalow with two projecting front gables, that was originally part of the Deer Lake Crescent Subdivision. The lot is heavily treed, and sits near the east end of Deer Lake.

The Louis and Annie Hill Residence is a modest one-storey, wood-frame, side-gabled Arts and Crafts bungalow with two projecting front gables, that was originally part of the Deer Lake Crescent Subdivision. The lot is heavily treed, and sits near the east end of Deer Lake.

Heritage Value

The heritage value of the Louis and Annie Hill Residence lies in its association with prominent Burnaby pioneers, Louis Hill (1860-1931) and his wife, Annie Sara Hill (née Kenrick, 1864-1957). Originally from London, England, Louis Hill immigrated to Burnaby circa 1887, and established a small fruit farm on this site in 1891. Hill was elected to the first municipal council in 1892, when Burnaby was incorporated, and was later responsible for the subdivision of Buckingham Estate in the Deer Lake neighbourhood.
The Louis and Annie Hill Residence, built as a retirement home in 1925, is further valued as a representation of the continued suburban development of the Deer Lake Crescent Subdivision, that was originally promoted in 1911 as an upper class suburban neighbourhood. Its modest nature illustrates the reduced scale of residential construction during the austere times that followed the end of the First World War. The style of the house demonstrates the late persistence of the Arts and Crafts movement, which remained a strong influence on domestic architecture. In 2006, the Louis and Annie Hill Residence was purchased by the City of Burnaby, and today it is part of the Deer Lake Park Heritage Precinct, Burnaby's most significant collection of historic sites.

St. John the Divine Anglican Church

St. John the Divine Anglican Church is a landmark wood-frame Gothic Revival church, with Gothic windows and spire. It is located on Kingsway, one of Burnaby’s main commercial thoroughfares, near the SkyTrain transit line and across the street from Central Park.

St. John the Divine Anglican Church is a landmark wood-frame Gothic Revival church, with Gothic windows and spire. It is located on Kingsway, one of Burnaby’s main commercial thoroughfares, near the SkyTrain transit line and across the street from Central Park.

Heritage Value

St. John the Divine Anglican Church is valued as a symbol of the traditions of early Burnaby pioneers and as the oldest surviving church building in the city. Established in 1899, St. John was the first church in the community and was located at a prominent intersection of the old Vancouver-Westminster Road (now Kingsway) and the British Columbia Electric Railway’s interurban station at Central Park. This prominent intersection of the road and rail developed as the town centre of the Central Park district. The first St. John church was destroyed by fire, and was rebuilt at the same location in 1904-05.
This church is additionally significant for its association with prominent local architect Joseph Henry Bowman (1864-1943) who emigrated from England in 1888. Bowman was a member of the parish, and designed both the first church and its subsequent replacement. Bowman’s prolific career embraced many stylistic changes and technological advances, and this church is a surviving example of one of his rare religious commissions. The design of the new church's nave and vestry was based on the Gothic Revival style of Christ Church Anglican in Surrey, B.C., which had been the former church of St. John’s incumbent Rev. William Bell.
Evolving over time as the congregation grew, the church received a number of early additions, and in 1953 was substantially renovated and enlarged through a new design by Vancouver architect Ross Lort. The original church nave was separated from the tower and turned to allow for a large addition. The congregation relocated to a new church in 1998, and at that time removed the church's memorial windows, leaving behind a number of the original art glass windows installed in the 1920s. The church building was renovated in 2004-05, and surviving original elements were retained and restored, including of the original church tower and interior chancel ceiling. A valued feature of the building is the original cast iron church bell that remains in the tower. It was purchased by the children of the congregation in 1912, and in 1924 was rededicated on Armistice Day as a memorial to Burnaby resident Lt. James Donald McRae Reid, who died in the First World War.

Defining Elements

Key elements that define the heritage character of St. John the Divine Anglican Church include its:
- location on the north side of Kingsway, opposite Central Park
- ecclesiastical form, scale and massing as expressed by the offset tower and tall, gabled roof
- tower with its original horizontal wooden drop siding, bellcast square roof with octagonal drum above and bellcast octagonal spire
- cedar shingle roof cladding
- metal cross at peak of spire
- Gothic Revival details such as: Gothic lancet windows with leaded stained glass panels; Gothic entrance door at the base of the tower; pointed-arch louvers in the tower; and exterior gable end scissor-trusses
- interior features such as wooden scissor-trusses with diagonal fir tongue and groove panelling on the ceiling above, fir tongue-and-groove panelling on the wall of the nave, and original cedar and fir pews and altar rails
- cast iron bell in tower

Dr. William & Ruth Baldwin House

The Dr. William & Ruth Baldwin House is a two-storey modern post-and-beam structure, located on the southern shore of Deer Lake in Burnaby's Deer Lake Park. The site is steeply sloped, and the main entrance of the house is at the top of the slope facing onto Deer Lake Drive.

The Dr. William & Ruth Baldwin House is a two-storey modern post-and-beam structure, located on the southern shore of Deer Lake in Burnaby's Deer Lake Park. The site is steeply sloped, and the main entrance of the house is at the top of the slope facing onto Deer Lake Drive.

Heritage Value

The Baldwin House is valued as a prime example of Burnaby’s post-Second World War modern heritage and progressive architectural style, as well as for its personal connections to internationally-acclaimed architect, Arthur Erickson.
Inspired by the modern domestic idiom established earlier in the twentieth century by Frank Lloyd Wright and Richard Neutra, Erickson conceived his architecture as responding directly to the site. A cohesive expression of simple orthogonal lines and ultimate transparency, this structure reduces the idea of post-and-beam West Coast modernism to its most refined elements. A fine example of the evolving talent of Erickson’s earlier work, this house is a landmark modern house in Burnaby and is unique in terms of siting and context.
Having just won the 1963 competition for the new Simon Fraser University in Burnaby with his partner, Geoff Massey, and having built fewer than half a dozen homes previously, Erickson’s reputation was growing and his skill as a designer of modern buildings was in great demand. The same year that Erickson/Massey Architects designed SFU, Dr. William Baldwin and his wife, Ruth, personal friends of Erickson, commissioned him to design this house. Erickson was already familiar with the site; as a child he had spent time at this spot when his family visited friends who lived on Deer Lake. Both the Baldwin House and the university were completed in 1965. SFU became internationally famous; the Baldwin House was also considered an architectural success and was recognized in publications of the time.
Only a single storey of this two-storey house is visible from the road, as it is built into the hillside in response to its steep site and proximity to Deer Lake. Like many other Erickson designs, this structure was conceived as a pavilion. Constructed of glass and wood, its transparency facilitates visual access to the lake’s edge, acting as an invitation, rather than a barrier, to the landscape. The house blends into the natural surroundings and the site includes other man-made landscape features such as a reflecting pool. As a reaction to the often grey quality of light in the region, Erickson exploits flat planes of water as a source of borrowed light.
The refined and purposeful design, transparency, openness of plan and adjacency to the lake combine to give the house a floating appearance at the water's edge. The concept of a floating house set within an accompanying garden was inspired, in part, by the palaces and house boats of Dal Lake in Kashmir and the famed nearby Mughal Gardens. Although Erickson never visited Dal Lake, he travelled extensively throughout India, and specifically mentions the Kashmir reference in relation to this house. There is a rich complexity of other allusions worked into the fabric of the house, unified by a feeling for the conjunction of light, water and land at this special location.
Widely renowned as Canada’s most brilliant modern architect, Erickson’s reputation is important to the development and growth of modern architecture in Canada and North America.

Defining Elements

The elements of the Baldwin House that define its character are those materials and details which respond to the location of the building and determine the relation between landscape and building, combining to create a single cohesive site. These include its:
- close proximity to water
- orthogonal plan and massing, with flat tar-and-gravel roof
- stepped down massing orienting the house towards the water
- post-and-beam construction, with the width of the beams matched to the width of the posts
- wood and glass used as primary building materials
- transparency and light achieved by the abundant use of glass
- large undivided sheets of single glazing
- butt glazed glass corners
- abundant and generous balconies, which blur the transition from interior to exterior
- horizontal flush cedar siding
- use of salvaged brick for chimneys
- use of chains as downspouts
- built-in rooftop barbeque
- built in furniture and fittings dating to the time of construction, such as original hardware, benches, bathroom vanities and kitchen cabinets
- landscaped site including reflecting pool, plantings and a dock protruding into the lake

This house was originally built by Fraser Arm pioneer and postmaster Johnson Alfred Skinner (1864-1941) and his wife, Mary Emma Skinner (née Bailey, 1862-1929). Johnson, who was from Sussex, worked as a horticulturalist. This is an unusual variation on the Craftsman style, with a side gabled roof and a half-width front verandah. Local mason John Pickard completed the distinctive battered cobblestone masonry, including the foundation, chimney, verandah columns and the porte-cochère. The house was later occupied and remodeled by the Timms family.

This house was built for Richard Dunn, a police sergeant with the B.C. Police force and his wife Alice. This house is a notable example of a Storybook Cottage, dating from just prior to the outbreak of the Second World War. Modest houses of the era often assumed a cottage appearance that provided a romantic ideal of traditional domesticity. With its smooth, planar stucco, severely-clipped roof edges, round-arched door and windows, side arch with a catslide roof, cross-leaded glass and brick detailing, this house is an excellent example of this picturesque housing trend. Located on a corner lot, the house was sited at an angle. The large Chilean Pine, or monkey-puzzle tree, entrance is a remarkable specimen.

Built after the end of the First World War, this house features an eclectic blend of Arts and Crafts elements. Constructed for A.E. Brown and a full two storeys in height, it has a front jerkin-headed roof with a jerkin-headed side projection, and a corner wraparound verandah with tapered columns. The house has been maintained in near original condition, with original lapped wooden siding, multi-paned windows and square balusters.

This interwar bungalow is beautifully preserved and retains many original features. Symmetrical in design, with two steeply-pitched front gables that flank a central arched gable over the front entrance, it also retains its narrow arched windows and projecting purlins in the front gables. Narrow sidelights flank the front door. The matching front elevation windows are typical of the period, with double-hung sash flanking a plate glass “picture window” with a curved transom; the upper panes are cross-leaded. This house was built by Agnes Michie and Elizabeth D. Michie.

Typical of the Arts and Crafts style, this house has a front gabled roof with triangular eave brackets and a front verandah with twinned square columns on tapered piers. It is notable for its stained glass windows and early ‘ripple’ float glass. Asbestos shingles were at one point added over the original siding, but are being removed by the owner, exposing the cedar shingles. The house is believed to have been built and occupied by Albert and Emma Greenwood.

This high-quality Craftsman bungalow was built for Alfred John Chrisp (1882-1944) and his wife Sarah Hannah Chrisp (née Hindmarch, 1883-1954). Starting in 1908, Alfred worked as an accountant for the CPR in New Westminster, and he and Sarah were married there in 1910. This house features a front gabled roof and gabled front porch, and is notable for its elaborate stained glass windows in the front door glazing, sidelights and the narrow transom over the front elevation window. Maintaining a very high degree of original integrity, the bungalow features lapped siding at the foundation level, a shingle clad main floor, a combination of casement and double-hung windows and square tapered porch columns.

This Baptist congregation originally held services in a tent at the corner of McGregor Avenue and Portland but they soon were able to build a small church. A membership drive by Pastor Arthur James Bowbrick (1875-1961) was so successful that the congregation was able build this fine structure, prominently located at the corner of Victory Street. Although it has been altered with later additions and stucco over the original siding, the original windows and the rooftop belfry remain.

With its two monumental, double height columns terminating in elaborate Ionic capitals, this Neoclassical Revival style house is aptly named The Pillars. Other Neoclassical embellishments include a Palladian pediment window, pilasters with Ionic capitals applied to the front corners of the house and lathe-turned porch columns. Though it has been re-clad with a later covering of asbestos shingles over the original siding, it otherwise retains a high degree of exterior integrity with most of its double-hung windows and decorative elements still in place. This home was constructed for Angus John MacDonald (née Cummins, 1878-1955), Vice-President of A. Linton & Company Ltd., and his wife Mabel Jessie MacDonald (1884-1971). Linton & Company was a shipbuilding firm; MacDonald retired in 1942 after thirty years in the industry. A photograph of this grand house was often featured in the promotional material for the Vancouver Heights subdivision by realtors and titled “A typical Vancouver Heights home.”

Built for Annie Barrett-Lennard, this British Arts and Crafts residence has retained many of its original features, such as its stucco and half-timbering exterior with a cat’s slide roof over the front entrance. The steeply-pitched gables, asymmetrical half-massing, leaded windows and pegged joinery are all references to traditional British antecedents.

Arthur Long, of the Water Rights Office of Victoria, purchased this land from neighbour Henry Ramsay, and built this beautiful Arts and Crafts styled home. The house appears to have many similarities to the neighbouring Ramsay House, which was designed by Vancouver architect R. Mackay Fripp. The house has retained its original complex gabled roof, triangular eave brackets and horizontal siding.

This one-storey commercial block retains its original division into three retail units. An eclectic Spanish Colonial Revival character is imparted by the use of visor roofs, covered in metal pantiles, that extend over the recessed entries. The stepped parapets are more reminiscent of the Art Deco style. Each of the three retail spaces retains their plate glass display windows. This commercial block was owned in 1939 by Mary J. Bishop of Vancouver.

The Capitol Hill Community Hall was designed by local architect Harold Cullerne (1890-1976). After Cullerne returned from service during the First World War, he joined J.H. Bowman in a partnership that lasted from 1919 to 1934. After Bowman retired in 1934, Cullerne practiced on his own, continuing to work on schools and institutional buildings, such as the Art Deco Hollywood Theatre in Vancouver. In 1944, Cullerne designed a community hall for Capitol Hill; the scheme was delayed, and redesigned before it was finally built after the end of the Second World War. A simple front gabled roof hall structure, this hall is a monument to community spirit, erected by community members on a volunteer basis, and used for community events for over half a century. The hall replaced two earlier structures, both destroyed by fire, that had served the same purpose.

This school was originally designed by Bowman & Cullerne as a two-storey, four-room school building in 1923, with a two-room addition completed in 1926 and another in 1927. Originally designed in the Arts and Crafts style, it has been altered, with the addition of stucco over the original siding and replacement windows, but has retained its original form and massing, as well as its roof-top ventilator and front gabled entrance with grouped columns. Bowman & Cullerne specialized in school design. After Harold Cullerne (1890-1976) returned from service during the First World War, he joined J.H. Bowman (1864-1943) in a partnership that lasted from 1919 to 1934. The firm’s other school designs included Seaforth School (1922, now relocated to Burnaby Village Museum), Burnaby North High School (1923), and Nelson Avenue School (1927).

This home was built by Captain William J. Eyres. In 1912, it was reported in The British Columbian: “Captain Eyres of Seattle is remodelling the front of his house on Douglas Road and otherwise improving it.” The house was later sold to William A. Mawhinney, who subsequently built houses at 6011 Buckingham Avenue and 7616 Burris Avenue. This spacious, high-quality Craftsman bungalow remains in excellent condition. It features a cross-gabled roof with multiple half-timbered front gables with large exposed purlins, in contrast to the shingle cladding on the rest of the house. At the front corner is a glazed sun-room. The entrance porch features tripled square columns. The property still has a beautiful garden, but once included large vegetable gardens, an orchard, and a large chicken house.

3890 Cambridge Street and 3896 Cambridge Street are nearly identical twins. These modestly-sized pattern book residences each feature a side gabled roof with a central dormer and a central entrance, as well as interesting Craftsman-style detailing such as the bracketed verandah columns, triangular eave brackets and exposed rafter tails. Though the original exterior siding has been covered by a later stucco cladding, the house maintains its original double-hung windows with elaborate multi-paned upper sashes. Built as a revenue property, it was owned by the Colonial Finance Company in 1915.

3890 Cambridge Street and 3896 Cambridge Street are nearly identical twins. These modestly-sized pattern book residences each feature a side gabled roof with a central dormer and a central entrance, and an open front verandah. Both houses have later coverings over their original siding; 3890 Cambridge was stuccoed, and this house received more recent vinyl siding, indicating the periodic pressure on homeowners to “upgrade” through the use of new, applied products. Built as a revenue property by the Colonial Finance Company, this house was owned by David Caldwell, the manager of the Caldwell & Carson real estate company in 1915.

Built by David Graybill in 1913, this house is a unique example of a two-storey Arts and Crafts house. The visor roofs, which shield the upper storey windows, and the second storey balcony, which was incorporated into the ground floor verandah roof, add to the house’s character and remain its most notable decorative features. Other defining features are the wide, overhanging eaves with triangular eave brackets. Though the wooden siding has been covered with asbestos shingles–an easily-reversible alteration–the house remains in highly original condition.

The Douglas Road School was originally established as a two-room school in 1908 on this site, and later expanded to four classrooms. Anticipating rapid settlement of this district, the School Board purchased two acres adjoining the old building. Two of the four rooms were designed to become one large auditorium suitable for special events and public gatherings, with seating for two hundred people. The classically-influenced school has been altered with new windows and extended with additional wings, but has retained its original red-brick veneer, tan-brick quoins and bellcast octagonal roof ventilator. Designed by McCarter & Nairne, the school was built by contractor A.S. Perry. McCarter & Nairne, who also designed the Second Street School, were the Burnaby School Board architects at this time. John Y. McCarter (1886-1981) and George Nairne (1884-1953) formed their partnership in 1921 after serving overseas during the First World War. The partners began designing houses and small apartment buildings, and their commissions included Vancouver’s first skyscraper, the Marine Building (1928-30).

This house was constructed as an investment rental property by Nova Scotia-born Dr. James Collins Farish (1866-1952). Farish was a Vancouver physician and surgeon and an eye, ear, nose & throat specialist; he retired in 1941 after fifty years of practice. In 1903, he married his first wife, Annie Gower Revely (died 1922). His second wife, Ella Jean Morrison (1887-1953) was originally from Winslow, Quebec. With its hipped roof and gabled projections, this house displays the typical elements of the Edwardian era domestic architecture. Features such as exposed rafter tails, paired square porch columns and bracketed bay windows display the emerging influence of the Arts and Crafts style. The ground floor windows are excellent examples of the multiple assemblies of casement, fixed and transom windows favoured during the era. A recent restoration project has extensively altered the original appearance and character of this impressive home.

Beautifully designed in an Arts and Crafts idiom, this church features a textural mix of finishes including lapped siding and stucco and half timbering in the gables. The British Columbian reported in July 1912 that: "The Baptists of Edmonds will possess a fine and well planned church when the building now commenced is ready for occupation. The architects are J.P. Matheson and Son, of Vancouver, and the contractors, Muttitt and Bell, of New Westminster. The entrance porch fronts Edmonds Road and the west side faces Vancouver Road. It will have a capacity for 272 sittings, spacious aisles and choir platform besides various rooms for Baptistery, vestry and robing apartments."

Built by B.C. Government District Engineer Edwin Hamilton George Verner, this large British Arts and Crafts residence is the centerpiece of a beautifully landscaped property named Garranard, Gaelic for “pretty garden.” The house retains its steeply pitched gabled roof with exposed purlins and multi-paned casement windows. The staircase window includes the Verner family coat of arms.

Mr. Ernest Bolton Hermon, of the prominent engineering firm Hermon & Burwell, built this residence, and he and his wife, Katherine, lived here until 1935. The British Columbian described this home as “…a splendid mansion …which cost in the neighbourhood of $15,000.” Hermon was born into a Dutch family in Ontario in 1863, and moved to British Columbia in 1886. This is one of only three examples of the work of Samuel Maclure in Burnaby and is an outstanding example of his firm’s typical British Arts and Crafts style designs. Samuel Maclure (1860-1929) was known for his British Arts and Crafts style with meticulous attention paid to functional and beautiful interiors that utilized native wood combined with luxurious imported fittings. He was a leading exponent of the Art and Crafts design movement, and established a sophisticated local variation of residential architecture. Maclure’s Vancouver office, in association with his partner Cecil Croker Fox (1879-1916), received some sixty residential commissions between 1909-1915 as a result of the booming local economy and subsequent development of new residential districts. This partnership lasted until when Fox was killed overseas in active service during the First World War.The house has received some alterations, including stucco and brick being added to the lower floor, but it has retained its original form and massing including its symmetrical design, hipped roof and second floor half timbering.

The British Columbian Weekly reported in 1913 that a “Californian Bungalow was being erected …for Mr. F.J. Butler.” This house displays many outstanding features of the Craftsman style including a granite foundation and tapered verandah pillars, and an open beamed verandah roof with an unusual cantilever. The house also boasts beautifully appointed main floor rooms with tiled fireplaces and several excellent Art Nouveau-style stained glass windows. The plan was likely derived from a Bungalow pattern book, popular at the time as the basis for construction of many family homes.

Forest Lawn Memorial Park was founded and designed by Albert F. Arnold, who wanted to design a memorial park “which would be a place of perpetual beauty and which would banish the ‘graveyard’ taint from such places forever.” The 145 acres of Forest Lawn were designed as a garden, which overlooks Vancouver and has a magnificent view of the mountains. Called “God’s Acres,” with white-shelled walks and piped sacred music, the design allowed a natural setting to offer solace to grieve. Bronze memorial plaques were used rather than headstones, which would have marred the garden effect. Arnold acted as a consultant to memorial parks all over Canada and the United States and many of his innovations have become standard practice in North American cemeteries. Equipped with its own greenhouses, the park has more than a million plants of all types. The chapel, which sits on the lower southern slopes, is a sophisticated modernist structure that was designed by renowned local architects McCarter & Nairne.

This home was built for Francois Xavier “Frank” Comeau (1863-1943), a blacksmith who moved from Quebec to Vancouver in about 1890, and his wife Cezarie Marie (née Fortin, 1860-1950), also from Quebec, whom he married in 1903. Featuring a front gabled roof with decorative triangular eave brackets, this comfortable Craftsman bungalow displays other characteristics typical of the style such as lapped siding at the foundation, a shingle-clad main floor, casement windows and stained glass transoms on the front elevation. The most notable feature of the plan is the inset verandah with subtle segmental-arched openings and tapered square columns.

This Streamline Moderne house is a rare example of this style in Burnaby and remains in excellent condition. Reflecting the influence of technology, industrial design and aerodynamic styling, the house has smooth rounded surfaces, rounded corners, a flat roof and prominent projecting eaves. It was built for prominent North Burnaby businessman Frank Wallace Walsh (1907-1963), who was a mechanic, and his wife Rena.

George Searby Buxton (1867-1955), an English-born carpenter, built this Arts and Crafts dwelling and resided here with his wife and local teacher Mary Isabel Buxton (née Nattriss, 1865-1941). George and Mary are both buried in the picturesque St. Helen’s Anglican Church cemetery in Surrey. The house retains this style’s characteristic elements such as half-timbering, an oriel window and turned verandah supports, as well as its distinctive windows, which are casements in the lower portion of the frame and a fixed multi-paned sash in the upper. The original siding has been covered with a later coat of stucco. The house survives in well-maintained condition.

This house was built for local plumber contractor George Nuttall (1883-1970) and his wife Rose Ann Nuttall (née Clagg, 1881-1955). George continued to live in the house after Rose’s death, until his own death in 1970. Although typical of the Craftsman style and form with its side-gabled roof, triangular eave brackets and front gabled dormer, this house has a number of special details, such as its beautiful art glass transom windows. The front verandah supports are massive stucco columns that contain stained glass lanterns with the house name, Hillcrest, and address.

George S. Vickers, a compositor with The British Columbian newspaper, was a prominent Burnaby resident who became involved with real estate during the boom prior to the First World War. In December 1910, The British Columbian reported that “Mr. Vickers has commenced to build a commodious residence on Fourth Avenue between 1st and 2nd streets.” This high quality Craftsman style bungalow, completed in 1911, was originally situated on one acre of property, which contained a large kitchen garden, an orchard of 40 trees of various types and houses and runs for chickens, ducks and turkeys. In 1919, the property was advertised for $5,000 and likely sold easily because of its location (three blocks from the electric streetcar line on Sixth Street), its many amenities and property improvements. Some of its selling points included its panelled living and dining room with 3-ply veneer, beamed ceilings and an open fireplace. Craftsman-style features include battered porch piers, unusual double bargeboards, triangular eave brackets and exposed purlins. The house survives in excellent original condition, with only minor alterations.

This Classical Revival school was originally designed as a two-storey four-room brick building in 1915, with a two-storey four-room addition in 1922 and an auditorium in 1929. It was built to replace a wooden schoolhouse that had been built on the site in 1912. The original section was designed by Joseph Bowman (1864-1943), a specialist in school buildings who was the school board architect for South Vancouver and Burnaby, with the additions designed after the formation of his partnership with Harold Cullerne in 1919. One of Bowman’s first designs for Burnaby was a utilitarian two-storey school that could be built with two classrooms and later expanded to eight rooms as the district’s school population grew; five schools from this design were built in 1908, and then four others in modified versions between 1910-16, including this school. This school was named after provincial politician Hugh Gilmour, but the spelling of the name was inadvertently changed by a civic clerk. The classrooms retain their thick wood doors, cloakrooms and rounded walls. The first addition was built by the contracting firm of Patterson, Cope & Thomson. Original features include the dentilled cornice that encircles the entire building and its red brick façade. The school was the first brick school in Burnaby and is the only school of this era left in Burnaby.

Danish builder Hans Jorgensen Hau (1878-1944) and his wife Anna (née Sorenson, 1874-1956), constructed this highly-distinctive Tudor Revival residence circa 1935. This was a time of entrenched traditionalism, and most domestic architecture reflected period revival styles. Tudor elements have been compressed here into a cottage form, including a distinctive front façade with half timbering and brick noggin; on the sides the nogging is rock-dash stucco. Casement windows contribute to the cottage appearance. The rear façade is clad with more utilitarian shingles. A prominent brick chimney exhibits angled and corbelled brickwork. Hau worked as a bricklayer and stonemason, and this house has common elements with the Moore Residence at 5165 Sperling Avenue, which Hau designed and constructed in 1943.

In 1911, the Vancouver Daily Province reported that “Mr. Harrison D. Morrison is building a twelve-room house of two stories and an attic, with stone basement, on Dundas Street, at a cost of about $4,500.” Harrison Donald Morrison (1864-1944) was a life-long contractor who lived in Burnaby with his wife Beatrice Amanda (née Smith, 1875-1954), until his death in 1944. This Edwardian-era house displays many holdover elements of the Queen Anne Revival style, particularly the elaboration of wall surfaces. In this example, the use of bay and cutaway bay windows, and integral first and second storey verandahs–now removed or altered–add visual interest. The distinct dual pitch of the roof is also a transitional characteristic, used in the late days of the Queen Anne Revival style. A later coat of stucco now covers the original ground floor siding.

Samuel Fred Munson was born in North Branch, Michigan in 1876, and moved to Edmonton in 1902. In 1909, he relocated to the booming city of Vancouver, where he established himself in the real estate trade and specialized in subdivisions. He purchased a tract of 160 acres in North Burnaby where he founded the townsite of Hastings Grove. This square, flat roof commercial building was built by Munson as the terminus of an automobile shuttle that would bring potential purchasers from downtown Vancouver to Burnaby Mountain to the restaurant located here, so that they could relax and view the new subdivision. Improvements at the townsite included a large boarding-house, a Methodist church, graded streets and five houses that Munson erected. The building retains its distinctive form and serves as a rare survivor of the 1910-1913 real estate boom of Burnaby’s Lochdale area, even though some of its characteristic commercial elements have been lost, including its cornice and large front display windows. Stucco has covered its exterior lapped siding and the building has been transformed into an apartment complex.

This house was built for Henry Ramsay and his wife, Elsa Kirby (née Burnett), who were married at Holy Trinity Cathedral in New Westminster in 1910. Henry was a real estate agent, originally from Newcastle-on-Tyne, England. Beautifully designed in the Arts and Crafts style, it follows the ideals of the movement in the use of native materials. The wooden construction includes timber porch and roof brackets. The roofline is of a notably low pitch. English-born architect Robert Mackay Fripp (1858-1917) had a varied career working at various times in England, New Zealand and Los Angeles. Fripp found the opportunity in British Columbia to promote his passion for British Arts and Crafts aesthetics through a series of residential and institutional commissions. The Ramsay Residence was built at the height of the Arts and Crafts movement, and Fripp’s output during this period was prolific; his residential designs ranged from modest California bungalows to stately Tudor Revival homes in Shaughnessy, Point Grey and Kerrisdale. This elegant house was built by contractor C.G. Bowden.

Carpenter Henry J. Adams constructed this side-gabled, shingle-clad bungalow circa 1913, with his neighbour, George S. Buxton (1867-1955), who was also a carpenter. The house is distinguished by its beautifully-detailed wraparound verandah, which is supported by square, tapered columns, and its distinctive semicircular window in the projecting front gable. Other details include a subtly flattened arched opening under the gable, leading to the central front entry.

Constructed as an electrical grid substation by the B.C. Electric Railway Company, the Horne-Payne substation was part of the expansion of this utility company to central Burnaby that occurred as a result of the opening of the Burnaby Lake Interurban line in 1911. The Receiving Station is intended to rearrange the company’s system of distributing power over the whole of the Burrard Peninsula. Power will come to the transformers there and be converted and distributed to the various substations in Vancouver, New Westminster and the suburbs...Work has already been started at the foundation for the new plant. (Vancouver Daily Province, April 29, 1913) When constructed the substation was situated within a forest clearing in a largely undeveloped section of northwest Burnaby. The area now surrounding the substation is heavily developed for semi-industrial purposes. This steel-frame and poured concrete structure was designed to be utilitarian, but with decorative detailing. The south-facing front of the structure features massed corners detailed with decorative relief panels at the roofline. Additionally, this well-balanced building displayed symmetrical fenestration with blind, and tall multi-paned steel-sash windows, some crowned with keystones. A tower added to the east side of the building’s front is the most substantial change made to the appearance of the Horne-Payne substation. This industrial structure was designed by prominent British Columbian architect, Robert Lyon (1879-1963). Born in Edinburgh, Lyon apprenticed and worked as an architect in Scotland until 1908 before moving to New York in 1909. In 1911, he began his career in Vancouver as an “architectural engineer,” with the B.C. Electric Company that lasted until 1918. After a short tenure in the lumber industry, Lyon returned to architecture, this time with his own firm in Penticton. Active in municipal politics, he was instrumental in the incorporation of Penticton as a city, and became its first mayor from 1948-1949. Lyon retired from architecture in 1958 and died in 1963. Lyon also designed the Central Park Gate in Burnaby.

Typical of the Arts and Crafts style, the house has its original front gabled roof, triangular eave brackets, full open front verandah and pointed bargeboards. The house has received some alterations, including the addition of asbestos shingles over the original siding. It is one of the few surviving early homes of the Broadview subdivision which was established in 1911. This was the long-term home of Hugh McCallum Senior (1873-1960), a steam engineer from Scotland, and his wife Mary (née Baxter, 1875-1958). Hugh continued to live in the house after Mary’s death.

This front gabled residence is characteristic of workers houses from the Edwardian era. One of the oldest houses in this area, it retains numerous original architectural elements such as its double-hung windows with multi-paned upper sashes, triangular eave brackets and a glazed front door with applied ornamentation. It was built for Isaiah Poirier in a subdivision that was created adjacent to the Rayside station of the Burnaby Lake interurban line of the B.C. Electric Railway.

This house was built for Isac Hartvig Peterson “Harry” Gronning (1880-1955), a Norwegian-born butcher, and his wife Lilly Geneva (née Hatton, 1889-1978). The Gronnings married in Vancouver in 1913, and lived in this home until at least Harry’s death in 1955. Designed to simulate a Norman-style cottage, the most distinctive feature of this eclectic bungalow is its round entry tower with a conical roof. Other distinctive features include its rolled roof edges that simulate a thatched roof, and its rounded arch windows surrounded with imitation voussoirs. It retains its original wooden-sash windows with leaded panes.